Wimping Out of Plein Air Painting

Sketching Isn’t Painting

Plein Air Blog — Wed, 01 May 2013 09:43:54 GMT

Sketching is information gathering and painting is translating the information. That's where I've

re: Wimping Out of Plein Air Painting

Marion Boddy-Evans — Sun, 21 Oct 2012 12:20:46 GMT

@Natalya Combining intuitive and deliberate can create great results. Don't forget it's an option to continue with a painting stared outdoors back in the studio, perhaps to to tighten up the expressive and move it closer to realism, perhaps to refine the colors more. Likewise, taking an underpainting from the studio outdoors!

re: Wimping Out of Plein Air Painting

Natalya Kalugina — Sun, 02 Sep 2012 12:38:38 GMT

I am one of happy Marion's students. I had a lot of doubts about my ability to paint outdoors and It was you, Marion who insisted that I continue with outdoors studies. I am very gratefull to you, Marion for this.

I am also live in a place with extreme climate conditions. Heat here is dangerous for life. So I have 3 types of outdoor studies. Most of time I use the most primitive cellular phone cam to make shots whenever and wherever I am going. I use cam as a notebook, though I have a pocketsize notebook for scetches as well.

The second is (in tolerrable wheather) 4-5 hours session making two 30x40 cm studies at a time from different positions at the same location. For this occasions I got a very light painter's case with telescopic legs and light folding stool in a plastic bag. All my equipment is less than 4 kg in total.

The third type is painting views from the windows of the hotels, using the same painter's case, travelling with me in a small suitcase with my clothes.

What I found is that I am able to finish landscape within 2 hours outdoors and that I fail to do the same working indoor. I think that when I paint outdoors I paint basicly what I feel rather than what I see, making mixtures more intuitevely, while indoors I spend most of the time analyzing colours of the reference photos with MSPaint, and creating another colour system on the base of the real one applying Marion's Artistic License.

Plein Air Essence

Plein Air Blog — Thu, 16 Aug 2012 06:43:47 GMT

We enjoyed the recent plein air blog of artist Marion Boddy-Evans and agree with her sentiments. We have

re: Wimping Out of Plein Air Painting

KatPaints — Thu, 02 Aug 2012 23:35:26 GMT

4 Beauty, It is unfortunate that this blog is no longer on the main page - less people are likely to read and respond now.

I thought about this myself - how to paint on a beach or somewhere with little or no stuff. If you're able to sit on the ground, sand, etc. you are in good shape. If your willing to use this in your lap, then that's great also.

Some time ago, I checked out Utube videos of plein air easels and pochade boxes. You'd be amazed at all the good ideas out there. some artists transformed old cigar boxes, pencil boxes old laptop covers, etc.

It sounds like you are using watercolor or acrylic, correct? If you are working on paper, the edges can be taped. A cup can be an old tin can or cut plastic water bottle, maybe a collapsible cup. You can purchase a raymar canvas or panel carrier or make your own with spacers similar to something you find inside a pizza box to prevent the pizza from sticking to the lid.

re: Wimping Out of Plein Air Painting

4Beauty — Thu, 02 Aug 2012 12:56:40 GMT

As just a budding artist I have tried to take "the stuff" with me when going on vacations. My biggest challenge is that when my family is out on a walkabout we keep walking! I did buy a mini kit to fit in my backpack (thus increasing the odds of having it with me when time allowed), but last weekend at the beach I found it was a bit too tiny too be practical.

There was no way to keep the wind from blowing the paper. My kit is a zippered portfolio. There are two elastic straps to hold the paper, but you can't paint that way. If I painted on a notebook pad I had nowhere to lay a finished piece to dry while starting a new one.

Any tips? Also, do people take a cup for rinsing brushes or what? Many thanks.

re: Wimping Out of Plein Air Painting

KatPaints — Thu, 02 Aug 2012 03:01:36 GMT

Actually, I just re-read a few comments and I must edit my post. KBrown because of the extra space, your post looked like a new paragraph and new idea. Now I see you didn't hike 10,000 feet, have an easel that was sturdy while others were blowing away, and dealt with freezing paint. Dang, I thought "here's a woman with lots of experience and I must pick her brain to see how she's handled these situations." My faux pas.

Frankly, I have no issue with true positive statements made by artists; feel free to toot your own horn. It is when the comment is made as a dig or as an attempt to bring others down that is an issue. I guess I should have called it "one downmanship" rather than one upmanship in my previous post.

re: Wimping Out of Plein Air Painting

KatPaints — Thu, 02 Aug 2012 02:07:12 GMT

Thanks kbrown30. I bet I'd enjoy painting with you, I like your attitude.

Yes, the oneupmanship is ridiculous. The stories and comments that I have heard from some artists would be considered immature or unprofessional if they were commented in a place of employment or design studio. When someone pulls out the oneupmanship card, they are revealing that they have some sort of insecurity about themselves, the process, or their art --- or you think it is the other person, when it is actually you that has the issue.

About sturdy, wind resistant equipment. I would be interested in this also. As I said I love my Soltek (will keep it for life) and I guarantee it performing awesomely in high winds (I needed to brace my arm and hand, but not my easel.) but I would like to go even lighter in weight - much lighter for travel (without the risk of it blowing over.) When I was painting on a windy day, a man nearby painted with a pochade box and tripod and seemed to have no trouble with the wind. One other man painted inside his car with a makeshift board/easel on his steering wheel. So smart! I also heard that another person has a hatchback and pops the back, has a seat, a hatch above in case of rain...

re: Wimping Out of Plein Air Painting

Marion Boddy-Evans — Wed, 01 Aug 2012 18:24:20 GMT

Fabulous and fascinating reading through all these comments. It makes part of me want to rush out with canvas, brush and paints, but the other part of me has looked out the studio window at how strongly the wind is blowing (not unusual on the Isle of Skye) and gets all practical... It seems to me there's plein-air kit to deal with sunshine, but what about wind? Any suggestions?

re: Wimping Out of Plein Air Painting

kbrown30 — Wed, 01 Aug 2012 16:42:32 GMT

Dear Marion,

I have backpacked with art supplies (oils, watercolors, pastels, what have you,) in mountains over 10,000 feet. I have had watercolors washes freeze on the paper before they could dry (made a very interesting pattern). I've continued to paint while the easels next to me were blowing away.

If I'd known plein air was a one upmanship contest I'd have dressed better and taken photos. I go out and paint because I like to go out. Period. Are the things I do in the field my best work? Not hardly. Do I care if someone thinks completing a painting in the field makes it somehow purer? Not really. Do I spend time creating tiny field kits that fit in a pocket.Yes. Do travel brushes on sale make my heart beat faster? Yes. Am I enchanted by people who travel to really remote places to paint? Yes. Do I wish I could be doing that, too? You bet. Do I mentally create palettes of colors I would take with me to paint a specific place? Yes. Do I like to compare notes about equipment with other outdoor painters? Yes I might learn something about what would work better for me. Do I think less of people who don't feel as I do? No. I don't have time to waste on that.

You are only a Wimp if you choose to think it so.

Paint on.

Kathleen

re: Wimping Out of Plein Air Painting

mariettetb — Tue, 31 Jul 2012 13:43:07 GMT

!! my comment disappeared??

My gear that I always have in my backpack is a 16 pan W&N watercolor box of 1/2 pans, (refilled with some of my own tube colors for a custom palette) a couple of medium sized watercolor pads or blocks and a sketchbook - the pan box is put in another small box (1.5"x 5"x10+-") w/ my brushes, pencils, pens, binder clips and a folded paper towel or two to cushion things. Throw in one plastic peanut butter jar of water, a piece of camping pad to sit on, and I'm off! Depending on the amount of paper and water I haul along, it all weighs about 3 pounds. I think. My husband custom made my kit box, and it is a prized possession; but I think a little plastic tackle box could be pressed into service just as well, and be lighter!

This kit has been around the world and out into my backyard. I love the paintings I can hack out in an hour or so, they are fresher and more spontaneous than what I can manage under more 'considered' conditions. Some of them are framable, some are just great reminders of a distant place.

re: Wimping Out of Plein Air Painting

KatPaints — Tue, 31 Jul 2012 02:25:33 GMT

Reading through the comments I see some common thoughts.

1. Plein Air is challenging physically and creatively. (You bettcha! Let's not forget the insects, weather, sunburns, and other challenges.)

2. Some people do plein air for social reasons first, creative reasons second. (If you are concerned about being left out of a show for using photographs, maybe you need to find a group that is OK with this. If Plein air allowed studio work, it would no longer be plein air.)

3. Studio painting is easier. ( My studio work is significantly better, significantly. But for me, nothing beats working from life and being outside.)

4. Plein air is a trend. Yes it's been around since the invention of tube paints, but recently it's marketed as "plein air outfitting/safari" Just check out some of the graphics and look of plein air websites. You too can be Indiana Jones with a paintbrush. Yep, it's the manly sort of art. Man against nature - a solitary figure in the wilderness. Load up your gear and tame the wild with your 354 Pro pochade box, complete with brush holders and shiny umbrella. (That's OK, I'll still do it. I wish I could quit my job and do it full time.)

For those of you wanting a cart.(Cajunkermie54) Yep, I have one too. I got it from Target for about $15 in the luggage section. It works OK but not in a wooded area with lots of tree roots and stones. I can use it only every now and then because of the terrain.

Yes, I have considered a sketchbook. I'm also toying with the idea of an extremely lightweight plein air set up that is less than five pounds to carry. Haha! Actually, the more I research, the more possible it is starting to seem.

Snomad, I own a Soltek (love it) but now I'm trying to find a way to get rid of it - at least for travel.

Mikewascher, So you're the guy who cuts down the handles of their paintbrushes! I've hear about you people. I think I will eventually invent something to meet my needs. I've come up with a few farfetched ideas only to find that the product actually exists for another purpose which is great - It will simply require some adjustment on my part. I realize that I will need to limit my Soltek to certain situations and find an ultralightweight one for travel. (though my soltek was awesome on a really windy day. My hand was blowing in the wind, but not my panel or easel. Thanks for the description of your "gear."

re: Wimping Out of Plein Air Painting

Barmon — Mon, 30 Jul 2012 18:34:31 GMT

Edgar Degas would be proud of you for writing this article!

re: Wimping Out of Plein Air Painting

DanaTD — Mon, 30 Jul 2012 14:37:29 GMT

Hi Marion,

I can really relate to the annoyance of lugging around equipment for Plein Aire sessions. I'm small and not too strong and rely on public transportation and curse my load every time I have to go to the site and come home.

That having been said, I simply cannot paint from photographs or color sketches. They don't have enough visual information for me. Also the actual

experience of painting in a studio from a photo or sketch is not as rewarding as painting from life. For bad weather, I just set up a still life in my studio. While I detest carting around stuff to and from the site, I forget about it as soon as the painting session begins.

But I can't tolerate the painting experience not being rewarding. I'm sure it shows in my work. I make plenty of mistakes with my plein aires but I have a much better track record of the results turning out good. And even if they don't, I've usually studied the subject enough by doing my original oil painting to know what mistakes I've made. The original becomes my sketch so to speak but it has a lot more info and is the result of more observation than a photo or study. Of course, the painting is not really plein aire then but I don't care about that. As long as the painting is good, that's all that matters.

I think artists either have a natural affinity for working from photos and sketches or working from life. I know a wonderful artist who breaks out in a cold sweat about working from life; it's not her thing. But her works from photos are breathtaking.

re: Wimping Out of Plein Air Painting

mikewascher — Sun, 29 Jul 2012 22:16:13 GMT

Marion, awesome and authentic piece! Bravo! I love all the comments where all the painters are at in their art journey. You kicked off a great and authentic blog topic & comments session!

You have inspired me to write in comments I've never shared let alone ever responded on a blog. It may be a bit long, but it is very personal. I give that those struggling with plein air or any other "air" of art (like painting from photos) will gain from this....

…for “Rolando” your comment resonates with me so much! I hope you enjoy my reflection on this below.

…for, “Alberta B”, I have an answer for your struggle painting out doors. I have found a way to simplify it and lighten the load.

…for “KatPaints”, I had a chuckle with your self-debate! I have so often been thru that mental gymnastics. I found a way to overcome that battle. I think I addressed it below. Press on! You may even invent something to meet your need.

…”PaigeBacon”, you are doing “plein air” (out-of-studio) with the water coloring, which I love to do.

…for “Chris Greene”… you are so right on with your comment!

…for “Frustrated Plein Air Artist”.. well said, but get some rest…

…for “Linda Sorenson”, you said it well. Who cares whet the artist uses… that’s what makes it art! I don’t like the competition of art because, in reality, who can judge art? Of course, someone can judge a requirement they set for an artist to make a specific piece based on the requirement, and judge whether the artist met the requirement… but that is really a business deal. But art is an outward expression of the inner heart of the artist. If I don’t understand a piece, it’s probably because I have never met the artist and learned who he is. If someone puts down another’s art form or method, I think he has no empathy and may even be dead in his heart. The burden to understand the art is on the viewer, not the artist. I say, paint from photos, from anything, just know who you are and find joy in the effort… even if you throw it away… just grow and press no. Trials, test, variety, struggles, produce character, maturity and greatness.

…for “Persephone50”. the following writing is for you because I used to think in the same manner about outdoor painting as you do. If it’s a fad, so it has been since 1841 when the metal paint tube was invented.

…for “Pgoerler”, I have trouble painting outdoors and keeping the scene from getting too dark. I use a values strip with small holes in each value spot to ascertain correct value. I have more trouble with this in pastels than oils. I find if I tone my canvas first with a middle value acrylic neutral it helps.

I have transitioned from primary studio painting to outdoor painting (I prefer American words). I now use my studio only for studying, experimenting and learning new materials, but that is the limit for me. To become a more expressive and natural painter I had to get out of the bondage of my studio room and paint outdoors. It meant I had to get out of the left-brain perfectionist mindset and set my right-brain free to do it's job. And how that was painful!...worse than getting off the couch and starting a weight-loss exercise and healthy diet program.

The desire to be in a place in life where the fear of new challenges was overcome and freedom to step-out became my daily manner. It was really getting over the fear of what others think by getting over the fear of what I think. The best part of painting out doors is just enjoying by not thinking. Art becomes drudgery becaue we over-think it. Some artists say that out-door painting is their tutor for color and technique capturing which leads to finalizing better studio pieces. For me, however, studio time is use for studying other artists and theory and heart preparation time leading to finalizing better out-door pieces. To each his/her own.

I love painting outdoors because it boils down to me and my heart and the scene...especially what the scene before me tells me about myself. Because the scene, any scene, is objective it is honest and authentic. At the end the day, and of life, art is about the artist and the world, one scene at a time. Every scene, when first seen. is like meeting a stranger in stuck elevator. Before long you bear your heart & soul to the other and become real... authentic ... and you and the stranger becomes life long friends....even if you never see each other again, you are both better for the acquaintance and the heart-level encounter. I don't remember most of the studio paintings I've done, but every alla prima (Italian for "get er done") outdoor/indoor scene is memorable like old friends,

As I ventured out-of-studio painting, I fought the good fight of learning to become a minimalist painter by doing the outdoor painting far away from my car.

Thanks to the airlines' increased pricing for extra weight/bags I changed my materials list when going to Hawaii on a vacation. Realizing it's crazy to try to carry everything on the beach, I figured out I had to fit it all in a small school backpack, including a bottle of water and some fruit bars. I paint in oils using a guerilla Pochade small (4"x6") box that can hold three 4X6 canvas panels. I use no thinner or mediums so I don't need to clean brush except wipe them with a rag. I limit my palette by palcing emphasis on five values rather than colors. I use three (two 1/2" flats and one 1/4" round) brushes with the handle cut off to about 3". I use a camera tripod that mounts to the bottom of the box. I hang a small folding chair over the backpack.

I took this minimal effort even farther because I love painting scenes of people in life situations, like in restaurants or at work. Since even the 4x6 Pochade is too big for the dining table, I modified a cigar box to mount a palette and hold one brush. I squeeze out a few oil colors (focusing on values) in advance. I tape a piece of 4x6 canvas on the lid of the box. So I only carry a cigar box around. I try to finish a sketch of the restaurant scene by the time our food arrives. Because people are doing life, the scene is fleeting and challenging. It keeps me pioneering instead of becoming a settler. These paintings where I focus on what impresses me first in short time spans without getting bogged down in details are my favorite works.

I maintain that until you venture to paint out of the studio, especially with crowds watching, you don't know your own heart. Painting impressionistically outdoors..indoors...is like the process of being introduced to a stranger and turning that stranger into a friend by observing all the stranger's first-impression goodness and reflecting it back in the painting. If it doesn't happen in the heart first it won't happen in the painting. Surprisingly...to me... painting outdoors introduced me to the stranger in my heart that I was so afraid to meet for so many years.

Yes, painting "outdoors"...is really painting "in life". If you don’t understand or fear something, that is a clue to pursue it!